She already is: Finn. Well, in a way. Being the boss's [potential] son-in-law is a great way to escape being either [1] killed by the mobster-with-a-secret; or [2] being hit on by him. Finn was terrified that Vito would do one or the other - or both.

This was linked to in the first page - it expands quite a bit on each thing meant to Burroughs [who was probably as high as a kite when he wrote this]:

<blockquote>Quote:<hr>The Khu is responsible for the subject and can be injured in his defense-but not permanently, since the first three souls are eternal.<hr></blockquote>

<blockquote>Quote:<hr>Ren, the Director, the Secret Name, is your life story, your destiny-in one word or one sentence, what was your life about?

[...]

And what is the Ren of the Director?

Actors frantically packing in thousands of furnished rooms and theatrical hotels: "Don't bother with all that junk, John. The Director is onstage! And you know what that means in show biz: every man for himself."

[...]

Ren is always the first off a sinking ship, like the rat he is. He's got nothing to worry about. Back to the studio, where he picks up a new script. Maybe he wins an Oscar on you, some film credits at least. He's eternal as Hollywood, eternal as the Stage itself.

[...]

Having your Ren burned out is worse, much worse. The searing, throbbing pain is always there, with no purpose to take your mind off it.<hr></blockquote>

Your story in one word? For these people, it's 'family' - both the mob family and the blood family. So that may be the director - the 'family.' Showing Janice, Bobby, and Baby Baccala [mother, father, and child] is a way of putting that out there.

<blockquote>Quote:<hr>Look, from a real disaster you get a pig of Sek: sacrifice, tears, heartbreak, heroism and violent death. Always remember, one case of VD yields more Sek than a cancer ward. And you get the lowest acts of which humans are capable . . .

[...]

Sekem is second man out: "No power left in this set." He drinks a bicarbonate of soda and disappears in a belch.<hr></blockquote>

The 'Sekem' part was said over Gene - his suicide could go under 'a pig of Sek.' I'm interpreting 'Sek' as 'power.' Gene killing himself because of his lack of power gave him power in an odd way - he was able to find a way for his family to get away from all that.

<blockquote>Quote:<hr>The Ka is about the only soul a man can trust. If you don't make it, he don't make it. But it is very difficult to contact your real Ka.<hr></blockquote>

AJ?

<blockquote>Quote:<hr>Sekhu is the physical body, and the planet is mostly populated with walking Sekhus, just enough Sek to keep them moving.

[...]

A hundred years ago there were rat-killing dogs known as "Fancies." A man bet on his "Fancy," how many rats he would kill. The rats were confined in a circular arena too high for a rat to jump over. But they formed pyramids, so that the top rats could escape. Sekhu is bottom rat in the pyramid. Like the vital bottom integer in a serial, when that goes, the whole serial universe gone up in smoke. It never existed.<hr></blockquote>

Carmela was the 'remains' - heck, she could symbolize the wives. In that case, the episode was populated with walking Sekhus - Ginny, Angie, Carm, Gene's wife.

<blockquote>Quote:<hr>There is intrigue among the souls, and treachery. No worse fate can befall a man than to be surrounded by traitor souls.<hr></blockquote>

I've been too busy this week to delve into the opening as much as I might have otherwise. But I have to say that the whole "seven souls" thing is just whacked. John Sacrimoni, I agree that the author sounds like he's on acid. There's not much in it that inspires me to want to delve because I just don't think there's much coherent thought there.

I do think the analogy of a film director to some sort of mystical power or force (or soul) that controls your life "from conception to death" is interesting. And it could be that the film director analogy is what really attracted Chase. It seems a natural fit to weave into a massive dream or a depiction of some altered state of consciousness (like a light coma?) or near death experience. But other then that, I can't find any sense or meaning in it.

this opening needs to be analyzed. I don't know what to make of it, and I hope others weigh in before episode 2 gets thrown into the mix. I think there is a lot of foreshadowing with the intro, and could be used to give us clues, like a Test dream.

I think EdaMaria is right about the meaning of the "mother figure" Janice represents when Burroughs discusses Ren, the director. I think we can see each of the "souls" as a part of Tony's self.

Ren--director--Janice suckling baby--mother (Livia) has controlled Tony's life at every turn.

Energy--Gene and wife getting the inheritance--Tony's desire for or pursuit of material goods.

Khu--"guardian angel"--represented by Meadow--conscience--doing right instead of wrong--selflessness (Meadow's work at legal aid clinic for poor)--the part of Tony's self that is his only hope for redemption.

Heart--treachery--represented by Curto--Tony's own capacity for treachery either at the expense of victims, or of his crew, or of his family. I suspect there's going to be more.

Kha--"the double"--represented by A. J.--Tony's lack of emotional growth--Kha reaches adolescence about the time of death--reflected in Tony's slow progress with Melfi?

Memory--represented by Ade--reflects the acts that haunt Tony--these are going to come into play more often, I suspect.

Just some thoughts. Feel free to argue or expand.

The remains--represented by terrified Carmela--should be Tony's "husk" or body, but maybe means his concerns for the people he'll leave behind.

John Sacrimoni and GaryGizmo - both excellent looks at what the song may allude to. With Janice, the mother angle certainly makes sense. Though I admit, I also had this wild fantasy of her being Tony's downfall in some way, either as rat with Bobby or perhaps even taking over - a female Don, you ask? Well, if it can happen in Italy. Granted, that is extremely far-fetched and nothing backs it up.

Also, with Carmela as the remains, she is also the strongest link to those things family orriented, rather than Family orriented. If FOMW is correct (and as others have thought), if Tony does end up going the witness protection route, it would Carmela that would be the biggest reason to do so, I would think. Even moreso than for the children. She is his rock, or as Melfi once said, one of the best decisions he ever made (or something to that effect.) Still not convinced Tony would go that way, but if he does I can see her being heavily involved.

It would be an interesting exercise to now go back and look at how the people representing the different parts in this song ended up now that the show is over. I think alot of this season is based on this song now going back and revisiting it. Ill try to dig a few things up

You know, Vito called me “skip” the other day. Slip of the tongue, no doubt. But I noticed he didn’t correct himself.

SilvioMancini wrote:It would be an interesting exercise to now go back and look at how the people representing the different parts in this song ended up now that the show is over. I think alot of this season is based on this song now going back and revisiting it. Ill try to dig a few things up

That montage is the first time we see Bobby with the trains, and we know how that ended up.